Welcome back to the class.

In today's lesson we're talking about showing the feelings and desire between the characters - without going all the way to the "big moment"

Important points:

- Focus on the emotions, thoughts, and feelings. They will connect your reader more than pages of graphic details.

- When the character is touched, what do they feel? What do they say? How do they react?

- When they touch the other person (or persons) what emotions are stimulated by the actions and reactions?

What are some basic things the characters can do to show intimacy and affection?

-Holding hands

-A peck on the cheek or forehead

-Caressing their back (or any other part of the body)

-Private jokes

-Whispering in a public place (which requires physical closeness)

-Sharing food or a snack

-Sitting close together

-Putting an arm around the other, or touching them in a familiar way

-Calling each other by private nicknames

Any of these can be added to a scene without stopping the action. These gestures can show familiarity, vulnerability and trust between characters.

Examples

Here are some examples of what I mean. You can add "basic" gestures to scenes to show intimacy and affection.

This is from one of my romantic sci-fi books, Hathor Legacy: Revelations. The hero and heroine are having a late night conversation using a communications ("com") unit.

Nadira went over her conversation with Jeron. "Everywhere we look, someone is being dishonest."

"Seems that way," Jon said. "You're coming home tomorrow?"

"Yes, will you be at the club?"

"No, I'll be here waiting for you," he replied. "Is everything okay? You sound strange."

She's tried to cover her anxieties, but she should've known better. Jonathan was tied into her emotions. He would know right away if something was wrong. "I'll tell you tomorrow."

"Okay." He yawned again. "As long as you're all right."

"I am." Sure she was.

"So, what are you wearing?"

"Huh?"

"We can have com sex. Wish there was video, though," he said.

"Me too. But, I'm too tired for com sex. We'll have to wait." Unfortunately.

He chuckled. "Okay. Call me when you get to the shuttle terminal. I'll pick you up."

"All right," she said. "Good night, ashira."

"I like when you call me that. Do it again."

"Ashira."

"Now, think it," he whispered.

Ashira

I love you.

I love you too, Jon.

In this story, Nadira is part of a psychic security force on another planet. She and Jon have a psychic connection, so they can (at times) read each other's thoughts. She's been working on solving a mystery that involves her parents, who she thought were dead.

She's received some troubling information, and yet she doesn't want Jon to pick up on everything she's feeling. She's concerned for his safety if he knows too much. Yet she's called him to talk over some things.

This is an excerpt of a longer scene, but I shared it here to show a few things.

- Their conversation doesn't stop the story because they're both discussing information they've recently learned (though she is holding back on some of it).

- Due to the nature of their relationship – which has grown over the series (this is book 3) – it's normal for them to discuss things. And it's normal for them to tease each other romantically and sexually.

- They're a committed couple who are missing each other and are open about wanting to be intimate.

- I created a word, "ashira," which is from a language used on that world. It means "desired one." They use that endearment throughout the story. It's only used privately and is a reminder of how they feel about each other.

I knew a sex scene wasn't necessary here – not even "com" sex (which is a what we might call "phone sex"). But I wanted to show that their relationship is connected to everything that happens. Sure, they're talking about what they've learned about the mystery, but they're also two people in love. Sharing their affection for each other is woven into their regular conversations.

This is an example of what I mean by basic gestures. When you want to show romantic or sexy moments, they don't have to overwhelm the scene. The action doesn't have to stop in order for the characters to have these moments.

And, as I've mentioned, a sex scene was not necessary here in order to show that the characters are in love. Their banter was enough to show a familiarity and comfort with expressing their desire.

Here's an example from my fairy tale romance novella, Once Upon A Princess: Heart of Stone.

"Are you sure you won't have a cake?" Leesa held one out to him, hoping to lift the mood.

"Shaking his head, he flashed her a smile. "You enjoy them. I want you to be happy here."

"I am. But I would be happier if you joined me."

"For what?"

She picked up another cake and licked the icing. "Eating cakes. Or licking. Which would you prefer, my lord?"

A chuckle gave her a sign that his mood was lifting. "I prefer whatever you are offering my lady."

This excerpt is from a scene where the princess and a gargoyle shifter (who is under a magic curse) are sitting in the library of his palace. They've already had a sex scene and have formed an unlikely (on the surface) relationship.

She's teasing him and he's playing along. It's obvious she's not only talking about licking icing off of cakes. And, though this does lead to a sex scene later, it didn't have to. I could've had them banter back and forth in a suggestive way and left it at that. The reader already knows what they're really talking about. (It doesn’t have to be spelled out.)

Use conversations, physical gestures and physical proximity to show intimacy without going all the way.

If they're getting to know each other, how will they show their attraction? If they're already a couple, in what ways do they show their affection for their partner? These things can be used as foreplay for more elaborate love scenes, or they can be used as small moments that are woven into the story.

Here's an example from another book:

"He began at her ankles, then inched his thoughts up along her calves, her thighs and the soft curve of her derriere, but the only person in the room to flinch from the improper entertainment was himself, left to adjust the crotch of his suddenly too-tight trousers.

The mundane truth was that he was utterly, completely enchanted by this woman."

-The Vine Witch by Luanne G. Smith

What I like about this excerpt is that, at this point, the couple hasn't had a love scene or any real intimacy. The hero hasn't seen her without her clothing, yet he's imagining what it would be like to see her and touch her.

The "too-tight" trousers show us that he's aroused (without coming out and saying it). In a couple of sentences the hero comes to the realization that he's in love and in lust.

This is a fantasy with romantic elements that's set in the past, which explains some word choices. But it shows the state of the hero's desire without going into graphic detail.

Here's another example from an old WIP of mine.

The heroine, Lorena, is a researcher who was part of a team that was engaged in smuggling activities (which she didn't know about). After an incident where someone is killed, the team is taken prisoner and held for punishment. The dragon shifter hero, Ty, who is also a researcher, comes to negotiate for her release. This scene occurs after they've spent a couple of days together.

"What will you do with me?" she asked. "The company ship won't return for months. Even if they wanted to get here sooner, they can't." There were no company outposts nearby. Meanwhile, here she was on a strange world with no allies, other than Ty.

"You'll come with me, of course. What did you think?" He picked up a piece of fish with his fingers and held it out to her. "Did you think I would make you my bondmate, then leave you in the middle of the forest?'

She leaned forward and took the morsel into her mouth, savoring the sweet, lemony taste. In all her life, she'd never had someone personally feed her. Something about it was much more intimate than what they'd shared the night before. (Feeding a partner can be a sensual act that can suggest much more than what is actually happening)

Ty picked up another piece of fish, sopping it against the bowl to coat it in sauce. Then he held it out to her.

Meeting his gaze, she lost herself in the intensity of his light brown eyes. His fingers dripping with the sweet fish sauce, the smell of warm bread. This could be a normal morning, just two people sharing a meal. For a moment she could wipe away all the events that had happened, and enjoy this moment with him. (Sight, aromas, tastes add layers to what she's experiencing)

Lorena held his hand steady as she took the food into her mouth. But instead of releasing him, she sucked the tips of his fingers. The taste was slightly salty.

"Come over here," he said.

She got up and went to the other side of the table. He pushed his chair back and motioned for her to sit on his lap.

As soon as she was seated, he began to feed her again. Dipping his fingers into the bowl and offering thick, moist pieces of fish. She took them eagerly, savoring each mouthful.

"Aren't you going to have any?" she asked.

"Of course." Ty fed her, then scooped up another piece. "This one is for me." He dropped it into his mouth.

Laughing, she wiped away sauce that had dribbled on his chin. Strange to hear her own laughter again. It surprised her that it came so easily. She was still a captive, after all.

As part of the terms of her release, Ty has taken her into his family as a "bondmate" which is similar to a partner or companion. He knows the customs of the shifters in that village and his intention is to protect her until they can leave and go to his home.

They've stayed together for a few days as he's negotiated. She's been fearful of being tortured or killed, as other team members have been. So in her state she is grateful to have someone who can get her out of that situation. But they also have an attraction (this is a romantic fantasy, after all). That's why their interaction is much more intimate than it might have been otherwise.

Involve the senses in your descriptions

Consider how you can involve the senses while creating intimate moments. You can suggest a lot – while letting the reader's imagination fill in the rest.

Have you ever seen the movie, The Age of Innocence with Daniel Day Lewis and Michelle Pfeiffer? In one scene the hero goes to the house where he thinks the heroine is staying. He sees a parasol that he thinks is hers. He picks it up and (if I remember correctly) caresses it.

The movie has loads of angst but no sexual encounters. However, if you haven't seen it, you may want to check it out. I think it's a good example of how love and longing can be portrayed.

In Summary

There are many ways to show that the characters are attracted. Sex could be the next step, or not. But as you build up these moments, you can show the growing attraction (or possible sexual frustration) between them.

Intimate gestures could include what I've previously mentioned. They can also include the heroine watching the hero in the shower or smelling his cologne on his shirt. The hero could hear a song that reminds him of her. They could have a long walk and one of them shares a personal story. Or they go to an event together or play videogames together. They may snuggle on the couch or share an umbrella.

Some ideas might work better than others depending on your characters and the story. Just consider what small steps your characters can take towards each other. Those steps will lead them closer to the "big moment" – which could be sex, or a proposal, or a commitment – whatever the goal is for their relationship.

Homework

(Please answer the questions on the Homework thread)

Questions

1. How does your hero show affection? How does your heroine show affection?

2. When in the story will your characters consummate the relationship (or have their first kiss if there are no sex scenes)?

3. What are your challenges (if any) when you write romantic scenes? (When I say romantic scenes, I'm referring to the romance and/or foreplay.)

Please feel free to share excerpts from your WIP (or published work) if you'd like.

If you prefer private feedback message me here on Savvy Authors.

In the meantime, please let me know if you have questions or comments about this lecture!

Creating Intimate Scenes without Going All the Way with Deb Bailey